Notes on Interpretation and Performance
eae Deine and compored or ctor Moreno
Sonata
{RST MOVEMENT: The seton staring 36 should pled with definite zz for Alto Sax & Piano
celng for artulation and hythm. Having the secondary cole, che saxophone should
tor predominate util ease $1. The performer should dein take par and fe
‘ee to add sie arcltons, accents, nd omamens in th ae syle much as one
{ould in the interpretation of «baroque work. Asa general aly all 16th notes should
sealord Pos
“he dese fn measures 90 and 91 that of deen tone color onthe same noe
nts wih te symbol" aze wo be played o the lowes fundamental low }
|, Gyand C2). On the writen notes of A and D where thi i not possible the effect may
se achieved by depressing the righthand while Fingering A and by playing the D with
he side or palm fingerings. re
the section from measure 100 to measure 115 may be sepeated as many times asthe
‘list wishes. Ir should be kept in mind tae this is a par ofthe entre work and ui
1g thematic, rhythmic and harmonic material found thoughout the movement i sg
ested, Inthe piano sol tarcng at messute 134, the saxophonist may join in whenever
«desires todo so, Howeves it shouldbe remembered tha the pianist is he dominant
loist her. The melodic ie in messure 141 isthe cue to end the improvisation and
‘ontinu tthe end ofthe movement
ECOND MOVEMENT: In measure 67, the lowest notes the fundamental, The upper
‘ote ae to be played in any onder. The deste eect is very sof, ethereal sound,